From Main Vaapas Aaunga to Dhurandhar: How Bollywood Changed Who the Real Enemy Is

Mumbai: Bollywood has long used war, terrorism and national conflict as powerful themes, but the way Hindi cinema portrays the “enemy” has changed significantly over the years.

From films centred on Partition and conventional military conflicts to recent blockbusters such as Dhurandhar, filmmakers have increasingly explored different ideas of national security, political conflict and identity.

Older Hindi films often presented the enemy in relatively straightforward terms. Stories built around wars and national borders generally placed the threat outside India, creating a clear distinction between the hero and the antagonist.

However, this approach has gradually changed. Films in recent years have increasingly brought terrorism, covert operations, political networks and internal divisions into their narratives.

The evolution can also be seen in the contrast between films such as Main Vaapas Aaunga and contemporary action franchises. Main Vaapas Aaunga, set against the backdrop of Partition, explores a period when communities and families were divided by one of the most traumatic events in the subcontinent's history.

On the other hand, Dhurandhar uses recent geopolitical events, terrorism and covert operations as the foundation for its fictional narrative. The film blends real-world events with fictional characters and storylines, deliberately blurring the boundaries between history and cinematic storytelling.

The Dhurandhar franchise has also generated debate over its political messaging and portrayal of India-Pakistan relations. Critics and commentators have questioned the way the films combine real events with fictional narratives and how this can influence the audience's understanding of history and contemporary politics.

This change reflects a broader transformation in Bollywood's storytelling. The enemy is no longer necessarily represented only by a foreign soldier or an opposing army. Instead, films increasingly explore networks of terrorism, organised crime, political interests and ideological conflicts.

At the same time, the evolution has raised questions about the responsibility of filmmakers when real events and fictional narratives overlap. When audiences are presented with recognisable historical events alongside fictional characters, the distinction between entertainment and political interpretation can become less clear.

Bollywood's changing portrayal of the enemy therefore says as much about the country's cinematic landscape as it does about the stories being told. As filmmakers continue to draw inspiration from contemporary events, the definition of the “real enemy” in Hindi cinema is likely to remain a subject of debate.